Furyo

Based on Laurens van der Post's "The Seed and the Sower", "Merry Christmas Mr Lawrence" is an involving, almost unbearably moving and incredibly humane film. While Bowie toplines, the real star is Tom Conti as the eponymous British Officer trying to reconcile his respect for Japanese culture and innate humanity with the barbarity of the POW camp. Bowie has often been criticised for his acting, yet aside from a rather laughable flashback sequence where he impersonates a schoolboy, he is convincing as a mysterious and spirited "soldier's soldier" who has a beguiling effect on the young officer commanding the camp, played by Ryuichi Sakamoto, who quotes Shakespeare and issues brutal orders in almost the same breath.

Sakamoto, who is also a pioneer of electronic music with the Yellow Magic Orchestra, also wrote the soundtrack, including the famous "Forbidden Colours" theme (you probably know this even if you don't know where it's from) which conjures up the atmosphere of regret, lost love and repressed heartbreak in which we see the strange, unrequited love of Sakamoto's character for Bowie's. This film is about this impossible unrequited love and about the struggle of human values in wartime. As Lawrence (Conti) says to a Japanese Officer facing execution after the war; he is now the victim of "men who are sure they are right", just as in the camp the Japanese were sure they were right. The last scene between the decent, humane Lawrence and this officer, who was by turns hearty and brutal in the camp, is one of the most heartbreaking ever committed to celluloid.

I remembered watching this movie when I was younger and it affecting me a lot. Well, I re-watched it recently and it has lost none of it's power.

The acting in the movie is adequate without ever being great (the notable exception being Tom Conti who is fantastic in his role as the misunderstood titular character).

However, the movie moves beyond the acting and once you are embroiled in the atmosphere and realism you become oblivious to any acting shortcomings.

The movie must be one of the most accurate depictions of human nature in a war. It has a diverse range of characters yet none of them becomes a caricature. It certainly doesn't sink into the good vs evil mindset that many war movies do.

The violence is graphic and shocking despite lacking the visceral realism of Spielberg's later war movies.

The ending of the movie still affects me, even after repeated viewings. I still have to a lump or two to stop from crying even now.

Overall, recommended for anyone with an interest in a non-stereotypical movie about war. Not for the faint of heart though.

SPOILER: I saw this movie when it came out more than 17 years ago. At the time a big deal was made about David Bowie being in it. He is, and does a fine job, but the movie isn't about his character. It is far more about the differences between East and West, and the cruelty of war. I was able to see it again last week on a cable channel.

To fully appreciate MCMR, try to understand the culture of both the captors and the prisoners at the time. To the prisoners, their existence in the camp is an unfortunate result of war, and should be temporary and not a life or death experience. To the Japanese captors, the prisoners who surrendered rather than died fighting are cowards, beneath the notice of the captors and likely not even viewed as human beings. They are expendable. But first, in this particular camp, there is an effort to "educate" the prisoners about the way a *true* warrior lives life (and dies). That is where the true conflict begins.

There are multiple physical and psychological struggles going on in MCMR. There is even some homoeroticism, though it isn't fully explained. There is certainly a lot of sadness, for characters on both sides. This point is brought home at the end, when the roles are reversed for two of the characters.

Even today, I can hum several parts of the score to MCMR, and they make me melancholy as I recall scenes from the movie. If you like movies that delve into the darker side of the human spirit (with some lightness thrown in), check out MCML. I rated it an 8.

Merry Christmas Mr. Lawrence, is one of those typical gems that you don't see that often because they are almost or very often underrated. I use the phrase typical because it is very much like that to underrate a non-mainstream movie like this one.

The story sets in Indonesia in the second world war, and tells the tale of a couple of British soldiers out in a Japanese camp for prisoners of war.

It gives us insight between the raging camp of the British soldiers with their Japanses guards. It tells the tale of prisoner Mayor Jack Celliers, a rebellious and confronting individual. It tells the tale of Prisoner Kolonel John Lawrence, who tries to build bridges between the two cultures who collide ever so often. It tells the tale of prison camp leader Captain Yonoi, who makes an effort in running things smoothly with understanding for his prisoners, but who, by the arrival of Mayor Jack Celliers, is being pressured, and discovers a whole new side of emotional understanding. It tells the tale of ward Seargant Hara, who doesn't seem to want to understand the prisoners, and would rather execute them than have them here.

Those 4 main characters come to interact with each other in very interesting ways, and the whole story rises to a dramatic climax which leaves it's impact.

The first degree acting makes this one of the most important things to watch this movie. Both British music legend David Bowie (As Jack Celliers) as well as Japanese music sensation Ryuichi Sakamoto (as Captain Yonoi) both have the lead in this epic picture. For Bowie it isn't this first time he appears on the big screen (The man who fell to earth, The Hunger),but it can be said that this is the role for which he will be remembered. Debuting here, Ryuichi Sakamoto plays the arrogant, and piped down captain Yonoi, and he doesn't make a bad figure with this. Truth is both musicians play very good, but the best parts are for debuting (at the time) comedian Takeshi Kitano (Srgt. Hara Ginko, and stage actor Tom Conti (John Lawrence) who steal the show. Conti's uptight and friendly character gives a lot of sympathetic gestures from the audience, and Takeshi has both the laughs and cry's (Watch the final scene) at his hand, for playing such a funny bastard.

Nagisa Oshima's direction is strong, and he leaves room for artistic influence for both cast and crew. He knows what he wants too show, and doesn't make the mistake of being to dramatic, or being to soft, on crimes that his fellow country committed in 1945. He stays realistic which works as a pro for this film.

The cinematography is beautiful, as well as the set and surroundings, but mostly, it is the score, the music, written by Sakamoto which leaves the most impression. A big plus, on all fronts and a absolute classic in it's genre. A must have and must see.

I have to applaud and second the reviewer who gives this film 10/10 and who thinks the current 6.9 average must be a result of many people not watching to the end. I think it's the result of many viewers not appreciating the art, subtlety, and deeply UNnationalistic message. In a country rife with jingoism, the message that no one is "right" when waging war (and especially commiting atrocity)will not be especially popular. After living three years in Japan, I can understand how American (and indeed Western)independence and confidence can be perceived as(and even sometimes are)arrogance and ethonocentricity.

The movie looks at what it means to be human and afraid. It examines how shame and cowardice haunt most men of noble heart. It reveals our commonalities to be undeniably more powerful and real than our transitory differences. It shows how truly stupid man must be to perpetuate the horrors of warfare and to mar his soul by using power to hurt others.

It's a 10/10 in my book, but realistically speaking, if most people agreed, well, there wouldn't be any grist for this mill.